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Hail, Ceasar!

I like Coen Brothers movies as much as the next person. I do think they have a sense of humor that fits their film making skills well, when there is a coherent plot driven story that has a solid end point in mind. When they have stretched out into comedy, they are a little more hit and miss. “Raising Arizona” and “O Brother Where Art Thou?” are examples of their success with straight comedy, solid home runs. “The Hudsucker Proxy” and “The Lady Killers” are illustrations of a swing and a miss. Sticking with the baseball metaphor, “Hail, Caesar!” is a foul tip. It makes contact but never reaches the field of play enough to create any sense of it being an essential film.

The story, as it is, mostly follows the travails of Eddie Mannix, the “Head of Physical Production”, whatever that means , at Capital Pictures. This is the same real life character played by Bob Hoskins in “Hollywoodland” a decade ago. Instead a a sober and somewhat ominous figure as he was presented in that film, here as played by Josh Brolin, he is a guilt ridden workaholic who has doubts about the value of his job but does it extremely well. Although there are comic aspects to what goes on, Brolin never plays him as a fool, and it is the circus around him that provides most of the laughs. As straight man to a variety of insane people, Brolin still manages to be occasionally funny while remaining a realistic character. The same cannot be said for most of the other featured players.

Scarlett Johansson is barely in the film, and her character has almost no personality except for boredom. George Cloony seems to be reprising his role as a dimwit with delusions of deep thought like his character from “O’Brother”. His very last scene he actually does what a movie star should do, but the purpose is to subvert the moment for a laugh. Ralph Fiennes has one solid scene and then another where he is mostly background. Tilda Swinton is playing dual characters, who are basically the same person anyway, and the part requires no real talent except being bitchy and tall. Francis McDormand and Jonah Hill each have one scene, and neither of them is connected to the main story [Main story being a euphemism for “plot point used to sell the movie”] . This film is all over the place, it leaves the biggest stars struggling to find something to do and it never develops any sense of urgency.

It’s 1951, and the studio system can see the future, and so can a group of communist writers. Those forces clash against a background of studio intrigue, none of which seems to be particularly connected to anything else going on in the film. The location however does give us an opportunity to see some fun parodies of film making from the era. Alden Ehrenreich should be the breakout star of the movie. He plays a Singing cowboy star who is cast in a sophisticated drama and becomes incidentally tied up with the kidnapping plot highlighted in the trailer. He is quite good playing a guy out of his depths in some circumstances but at the top of the heap in others. Had his story been the centerpiece of the film, I think the movie would have held together a lot better. The other high point of the film is Channing Tatum, lampooning the star system with a turn as a movie hoofer with a secret. The dance number he stars in is the best moment in the movie, it is well staged, funny as heck and should get a laugh from all those who see homoeroticism in every 50s film.

I’m glad that artists as successful as the Cohen Brothers are, can take chances and work in different film genres and experiment. I just wish that this film had been more successful. There are several great scenes and good laughs, but it barely resembles a film and it is clearly full of indulgences that feel like someone is taking advantage of their position. I would never tell people to stay away, but unless you are a completest, you will be perfectly fine waiting for their next attempt. No one wants to be disappointed with a movie they chose to see and I think most people will find this film to be just that.